![]() ![]() And their Art Basel in Miami Beach booth is a dramatic send-off to the milestone. Gmurzynska celebrates its 50th year in the business in 2015. And Galerie Gmurzynska sold a Robert Indiana for $1.5 million. Mike Kelley’s monumental acrylic-on-wood panel work Untitled 5 (2008-2009) also sold from the gallery for an undisclosed sum that almost surely nestled in the seven figures. At Hauser and Wirth’ s bo ot h, Paul McCarthy’s White Snow, Dopey, Black Red White, Black (2011-2015) went for $1.5 million to an American collector. Pace sold 16 works by Louise Nevelson for up to $1 million. “We literally don’t have anything left,” added the dealer.Ī number of usual suspects reported sales that broke the million-dollar mark. (Other dealers suggested that these more informed collectors also bring fewer art advisers selling them on a boilerplate list of hot names.) At Kelly’s booth those collectors copped Antony Gormley’s £350,000 Cumulate (2011) and works by Los Carpinteros, Jose Dávila, Ellsworth Kelly, Idris Khan, and Callum Innes, among others. However, Kelly added that it’s at least partly due to the fact that “the fair’s audience has matured.” More mature collectors bring with them greater clarity of what it is that they’re after, whether on the floor or in advance of the opening. Sean Kelly, of the eponymous gallery, also noted a shift in his Art Basel experience, which saw the gallery have “way more sales coming into this fair than we ever have before it increased by an exponential amount.” The exact reason for what Kelly dubs a higher-than-ever-before click-through rate (his words a promising indicator of galleries’ increasing use of web analytics to track their performances) was yet unclear. While the gallery rarely fails to perform strongly, it comes at a particularly welcomed time, with Logsdail hinting that an announcement of the opening date for the long-awaited New York space is just weeks away. Other sales included Cory Arcangel’s Shania / Lakes (2015) for between $60,000–90,000, Ryan Gander’s I Be… (V) (2015) for between £70,000–100,000, as well as Jennifer Allora & Guillermo Calzadilla’s Solar Catastrophe (2015), Rodney Graham’s Nautical Scene with Loudhailer (2004), and a Carmen Herrera, all for undisclosed prices. That doesn’t mean transactions lagged for Lisson, where Logsdail was pleased to report that a Stanley Whitney painting had gone to an American museum for an undisclosed sum. Look no further than the flip-prone art market of 20 in comparison to the more modest turnover of the past 12 months, for proof. Snap judgments make people buy things that they don’t necessarily love or they haven’t necessarily thought about all that deeply,” which Logsdail suggests might make them more prone to hold onto works for far less time than might otherwise be the case. “For a period, there was this snap decision-making of, ‘Okay, I’ll take that and that and that,’ and that isn’t very healthy. But people are pausing to think about what they’re buying, which is ultimately a positive thing,” said Lisson Gallery scion and International Director Alex Logsdail. “I don’t think things are slowing in terms of the amount of work that’s being sold.
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